We teamed up with Prokit regular and lighting cameraman, Sam Berrido last month to help film a fashion test shoot in East London.

Using a Canon C300 Mark II plus a whole host of cine prime lenses the test shoot focussed on exaggerating make-up and colour on-screen. Moreover, image quality and ability to grade the footage was really important, according to Sam.

“Having been an owner and operator of a C300 Mark I – which I loved – I was keen to see what the Mark II had to offer, and this was a great shoot to try it on.”

He added: “One of the most challenging aspects of the shoot was that many of the shots were going to be composited onto miniatures, so we were shooting a mixture of HD and 4K to give maximum flexibility in the edit.”

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Using the Canon C300 Mark II
The shoot required Sam, and director, Stephen T Lally to use a number of macro shots – one such technique was an extreme close up of a model’s eyeball. They also made use of optical effects created with glass in front of the lens. This according to Sam, “made some of the lighting set-ups trickier than usual.”

He added: “In terms of the C300 Mark II the challenges were pretty much as expected. The image quality out of the camera was fantastic, but the menus and the form factor of the C300 Mark I have not really been improved on in the Mark II.

“The monitoring outputs from the camera caused some initial confusion, but once we had managed to navigate the menus the output with a LUT applied was a great guide.”

We worked closely with Sam and Stephen, both of whom have worked together before, Sam said: “He [Stephen] is really great to work with. He has a very clear idea of the look he wants to achieve, and a very collaborative way of working.

“It’s great to be carried along on his wave of enthusiasm – and to know that the end product is going to look amazing.”

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Lighting on location
To light the set the guys used KinoFlo’s Diva-Lite 400 Kit – a portable, versatile unit designed for the rigors of run and gun lighting. We chose the Diva-Lite because of its full-range dimming, switching and remote control features.

“We really wanted as big a depth of field as we could get for this shoot - both Stephen and I were keen to avoid the normal feel of a macro shoot,” explained Sam.

“This made it imperative to get as much light as possible into a relatively tight space, and still have some modelling on the subject.”

Sam told us that this was a rather unique shoot in that macro-shots, miniatures, composites, and beauty-shots were all required at once. He explained that he has used all these elements in past shoots, but never all at the same time.

“Working with Stephen to decide how best to show the transitions of the make-up and how to create the look he wanted for the miniatures and back plates was a lot of fun.

“On the shoot itself, apart from ensuring we matched the angles for the composite shots, we really went to town creating the sparkles and shimmers we wanted for the backgrounds.”